Picasso Museum of Barcelona

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  • The 156 engravings

    • Open to the public (to be confirmed)
    • Curated by: Claustre Rafart
    • Between 1963 and 1972, Picasso returned to calligraphy engraving or engraving on metal. In this period he worked with the printing brothers Piero and Aldo Crommelynck. The result of this collaboration was, amongst others, the two major series that were particular to the last period of Picasso the engraver, with more than five-hundred and twenty engravings: the 347 engravings carried out between March 16th and October 5th 1968, and the 156 engravings, which were produced between October 24th 1968 and March 25th 1972.
    • In the exhibition, we present the prints that make up the series of the 156 engravings, published by the Galerie Louise Leiris.
    • The prints which are included in this series continue the unbridled spirit of addressing the burgeoning eroticism from the previous series. A large number of the characters take part in these, representing a seemingly idle, fun and joyful world, in which the melancholy of frustrated desire and lost virility are underlying. The uncontrolled desire of the mind that doesn’t allow the old painter to develop his erotic fantasies beyond the act of creating.
    • The allusions to the masters of the past are fluent in Picasso’s late work. The engravings from the later years are overflowing with references: Rembrandt, Velázquez, Goya, Ingres, Delacroix, Manet... and, above all, Degas, who enjoy the favours of the man from Malaga in many of the prints of the series. In the 156 engravings, Picasso pays particular homage to Degas with the series of prints dedicated to the tale La Maison Tellier by Guy de Maupassant.
  • Ceramics at the Museu Picasso

    • Open to the public: from June 23rd to October 23rd, 2016
    • On occasion of the 47th Congress of the International Ceramic Society, to be held in Barcelona in September with a focus on ceramics in architecture and public space, the Picasso Museum (in collaboration with the event) will present a selection of more than 30 photographies from our collection, taken by relevant photographers -Chamudes, Duncan, Otero and Villers- while Picasso was working on ceramics.
    • Picasso participated in the first editions of this encounter at Cannes. This was a decisive factor in his artistic development as a ceramicist, as it was where he discovered the Spanish ceramic tradition.
  • Cubism and war. The crystal in the flame

    • Open to the public from October 20th 2016 to January 29th 2017
    • Curated by: Christopher Green
    • Production: Museu Picasso
    • The exhibition focuses on the survival of the European artistic avant-garde who had settled in Paris during the First World War (1914-1918), and their response to the anxiety, pain and danger signified by this major conflict: the development of an artistic movement that built on cubist aesthetics incorporating architectural elements, based on stability and wholeness.
    • The main artists of the exhibition are three foreigners living in France, and who, as such, were unable to take part directly in the military campaign: Pablo Picasso, Juan Gris and Diego Rivera. The exhibition will also explore the important role of other artists in similar circumstances, such as María Blanchard, Gino Severini and Jacques Lipchitz; and that of French artists who for various reasons couldn’t join in the fight, as was the case of Henri Laurens and Henri Matisse, who produced some of their most experimental works during this period.
    • Although the emphasis of the exhibition will be placed on the non-fighting artists and their creative evolution, the artistic response of the two major cubist artists who survived the action in the trenches, Georges Braque and Fernand Léger, will also be explored.
    • The exhibition will present a selection of around 80 works produced between 1913 and 1919. The clear interconnections of the avant-garde in the Paris from before the war will emerge strongly, as well as the consolidation of the discoveries that took place during the war, evidenced through the artworks produced during and after it was over.
    • The wartime period of 1914-1918 resulted in an art which was the product of the suffering of the soldiers in the trenches, but in France this group of artists in the rearguard responded by unifying what had been a burst of energy, linked to the avant-garde prior to the war. A highly creative and positive response to the need for reasserting the way towards the construction of a context of mechanization of the war – a need whose reparative urgency was both deep and intense.
    • The evolution of cubism in the Great War -and even more so, of the movement in Paris under the imminent threat of chaos-, towards control, coherence and integrity turned out to be still relevant today, nearly a century later.
  • Mythologies, Graphic Work in the Collection of the Museum

    • Open to the public from November 24th 2016 to March 20th 2017
    • Curated by: Claustre Rafart
    • Throughout his life, Picasso felt an attraction for the world of mythology, as demonstrated by his first drawing preserved; Hercules (1890), the legendary hero known for his superhuman strength.
    • Picasso the engraver, recreated scenes and characters taken from the fertile world of Greco-Roman mythology. He would describe myths and narrate stories that had been based on a religion or a system of beliefs, and that have lasted to this day, especially in the world of plastic arts. In this unreal world with an aim for the truth, as told by ones and others over the course of time, Picasso, like so many other artists, offers his stories of gods or other natural phenomenon, more or less deified, as well as legends about heroes and heroines; legends that try to explain the forces and phenomenon of nature and the qualities or moral realities of the individual man and his social experiences, which represent ideas or symbols. The graphic work of Picasso shows a succession of mythological protagonists such as Hercules, Apollo, Calydon, Cephalus, Meleager, Nestor, Pollux, Poseidon, the Minotaur, Zeus and of other fantastic beings such as centaurs, fauns and muses, and they explain trivial facts about everyday life, prowess, pleasures, pain, tragedy, etc. Myths that are the protagonists of a series of marvellous prints that were elaborated with different techniques: etching, aquatint, drypoint, lithography, linoleum, etc.
    • In this fusion of narration and history that becomes the myth, Picasso pours out all his creative genius. He worked with copper plate, zinc, linoleum, and stone with an overwhelming freedom of brushstrokes, enormous expressive vigor, and sublime shading.
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